BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//ical@documenta14.de//NONSGML kigkonsult.se iCalcreator 2.20.2//
METHOD:PUBLISH
X-WR-CALNAME:Volksbühne Berlin
X-WR-CALDESC:
X-WR-RELCALID:f290919c-2022-4269-9f99-6b76bdf68a51
X-WR-TIMEZONE:Europe/Berlin
BEGIN:VEVENT
UID:event___1514399400_1514399400@www.volksbuehne.berlin
DTSTAMP:20181120T010338Z
DESCRIPTION:The stage turns. Angelina Dreem One is wearing a latex mask com
plete with long black hair. She sits on a sofa\, characterised by high-glo
ss reality TV aesthetics\, and reclines in a pose. The stage continues to
turn. A second set contains fitness equipment and a spa area\; Angelina Dr
eem Two moves through a tomographic scanner.\nAngelina Dreem’s life is a s
oap opera. But her life is also real. Angelina Dreem is sick. She has canc
er. Throughout the play\, new Doppelgängers of her continually appear\, fa
lling from one rabbit-hole reality into the next. Growing older\; being a
woman\; remaining oneself\; exorcising oneself again. Women in Trouble exp
lores if there is anything left to learn. Could the next life be a better
one?\n\n“I am not the least bit interested in irony.” Susanne Kennedy\, bo
rn in 1977\, does not really trust theatre. Or\, rather\, she wants to ret
urn to its roots. So\, she masks her actors and plays recorded texts as vo
ice-overs\, combatting the presence that makes the stage so weighty and\,
at the right moment\, demonstrating that the ritual of theatre can still t
ell us everything after 2500 years. Kennedy is hot on the heels of death.
Her opera production Orfeo (2015) had the subtitle “An Exercise in Dying”
and her current production The Virgin Suicides (2017)\, based on Jeffrey E
ugenides’ novel of the same name\, looks back on life from the perspective
of death.\n\nWhy must Medea kill her children every time\, and why must H
amlet always die? “We have the need to gather in a common place to witness
how people love\, suffer\, kill and die. Actors are like stalkers: they t
ake us along into a ‘space of desires’. They are familiar with places wher
e we feel alien\,” maintains Kennedy. With her productions of Marieluise F
leißer’s Purgatory in Ingolstadt (2013) and Fassbinder’s Why Does Herr R.
Run Amok?(2014) at the Munich Kammerspiele\, she became one of the most po
pular theatre makers in Germany. In Women in Trouble\, the Doppelgängers c
ircle about on germ-free stage sets: is it a hyper-realistic Scientology c
entre\, virtual cancer clinic – or already the afterlife?\n\nThe idea of t
he Anthropocene era has preoccupied us for more than 15 years. It proposes
that humankind has become a geological factor. We are not only scratching
the surface of nature\, but changing it profoundly. Nature and culture\,
creatures and technical objects constitute a novel mixture. Kennedy believ
es the time has come to let go: “The subject is no longer a topic! The thi
ngs we have invented to represent people on the stage no longer work. To f
ind oneself is to lose oneself.”\n\nIn her first production for Volksbühne
the director has developed duplicating cabinets\, in which fragmented hum
an beings become visible in their unadorned humanity. The matrix changes w
ith each rotation.\n\nCoproduction: Theater Rotterdam\n\nCopyright:\nGille
s Deleuze &amp\; Felix Guattari\, Anti-Oedipus. Capitalism and Schizophren
ia\, transl. by Robert Hurley. New York\, 1977 / Anti-Ödipus. Kapitalismus
und Schizophrenie\, transl. by Bernd Schwibs. Frankfurt am Main\, 1974. L
es Éditions de Minuit and Suhrkamp Verlag\n\nJohn Cassavetes\, Opening Nig
ht\, Drehbuch\, USA\, 1977 / Opening Night\, transl. by Brigitte Landes\,
S. Fischer Verlag Theater &amp\; Medien\n\nAntonin Artaud\, The Theatre an
d its Double\, transl. by Mary Caroline Richards. New York\, 1958. / Das T
heater und sein Double\, transl. by Gerd Henniger. Matthes &amp\; Seitz. B
erlin\, 2012\n\nPerformance rights courtesy of the additions.\nThanks to A
ngelina Dreem\, Margaret V Haines und Apichatpong Weerasethakul.\n\nWomen
in Trouble is a co-production with Theater Rotterdam's Boogaerdt/VanderSch
oot. The latter two joined the Dutch company as key artistic associates in
2016. The relationship between Susanne Kennedy\, Suzan Boogaerdt en Bianc
a van der Schoot dates back to 2013\, when they created Hideous (wo)men to
gether\, and later\, in 2015\, ORFEO.\n\nKennedy's and Boogaerdt and Van d
er Schoot’s works are similar in theme and inspiration. They are fascinate
d by (female) physicality and a technical approach to the body as an objec
t. The artists often use masks and disguises to try and depersonalise the
body.\n\n[logo rotterdam 100]
DTSTART;TZID=Europe/Berlin:20171227T193000
DTEND;TZID=Europe/Berlin:20171227T193000
SUMMARY:Volksbühne Berlin: Women in Trouble
END:VEVENT
END:VCALENDAR